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So now we know: Peter Capaldi is going to be in the TARDIS, cursing up a storm.

Or not (it is a family program afterall). Yet for a man who so elegantly delivered the phrase “fuckity-bye” as the deliriously profane Malcolm Tucker in In the Loop, Capaldi is a rather interesting, some would even argue bold choice to play the 12th Doctor.

Now, let it be known, there are people who are bemoaning two very specific points (already) about the announcement of Capaldi. For one, the producers could’ve been a lot bolder. Rumors have circles for years about there being a black Doctor. A female Doctor. Anything to offset the onslaught of increasingly-younger white men who always seem to be on the holding end of that sonic screwdriver. While there certainly is some legitimacy to that claim, Doctor Who is also going with a very strong “if it ain’t broke…” modus operandi here.

Dead Set. World War Z, Shaun of the Dead, The Walking Dead. Pride and Prejudice and Zombies. I Am Legend. Dead Island. Dawn of the Dead. Warm Bodies. When zombies come, they come not as single spies, but as battalions. There have been so many outbreaks of the undead over recent years that they’ve overrun the pages of fiction to shuffle grimly into the real world.

In 2011, Leicester City Council was obliged to admit that they had no fixed plans in event of a zombie uprising. The Center for Disease Control was a little more prepared. Their advice included a list of essential survival items including food, water and, touchingly, a copy of your birth certificate.

At their recent sold-out shows at the Tate Modern in London, Kraftwerk revisited its eight studio albums in neat, chronological order. At first glance, it’s rather jarring to think of such forward-looking sounds having earned a retrospective. But then they were never really about the future, anyway. With songs like Autobahn, Pocket Calculator and Trans-Europe Express, it’s clear that Kraftwerk was actually interested in the technology that already surrounded them.